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Performing Arts

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WARAY, SAMAR ISLAND PROVINCE, CENTRAL PHILIPPINES. Kuratsa is the most popular Waray traditional dance in Eastern Visayas. C. Andin and B.E.S Villaruz (1994) wrote that it is “an indigenized version of the la cucaracha (the cockroach), a Mexican courtship dance … believed to have been introduced by Mexican soldiers and traders when Mexico had administrative and trade relations with the Philippines”(p. 85). A close study of the dance, however, reveals that it does not exhibit any trace of the pesky roach nor of the impassioned Mexican in movement, style or rhythm. Waray folks mention nothing about a foreign origin. They say that the kuratsa depicts the flirtatious movements of the rooster and the hen in courtship.

Kuratsa Dance

BEFORE MUSIC recording was invented, kuratsa music was played by a rondalla or a live string band. Traditional musicians have a vast repertoire of kuratsa music – the menor or mayor (minor or major scale) – in several variations of the playful running melodies. In Calbayog, Samar, elderly rondalla musicians would also sing out the kuratsa while they play on their string instruments. Kuratsa music has now been popularized in the form of recordings in compact discs.

No social event with a pasayaw or social dancing is complete without the kuratsa. It is performed in various occasions: birthdays, baptisms, weddings, political and sports events, among others. Traditionally, kuratsa is not performed on a stage, but on level ground with the audience surrounding the dancing space, whether indoor or outdoor. The dancers are called out by a parag-adu (one who pairs off or matches dancers). The pair (a man and a woman) approach each other in the paseo (from Spanish pasear or to stroll). The dance begins with the simple siki-siki (siki or foot) or tinikud tikud (tikud or heel), which are rapid walking steps with the feet kept close to each other. The man and woman wave their arms sideways or a little overhead, arms together or in alternation. The man exhibits his skill in the sarakiki step. Sarakiki is the term for the rooster’s vibrating footwork. The gentleman’s dancing prowess is measured by his agility – whether in mince steps, skipping, hopping or jumping or a combination of all these. Although brisk and quick, he glides gracefully across space. The woman is appreciated for the languorous and wavy or mabalud-balud bounce. The woman’s basic step is technically done by duon – to press or to put weight on - as when she steps with the ball of her foot followed by the heel of the same foot. Alternated with the other foot, the effect is a wavy bounce of the whole body as if floating on clouds. The best dancers are light, fluid and fine in motion. As partners, they would be in synchronous flow. They dramatize romance in the palanat (chase) as the man chases the woman who, at initial encounter, evades him. When the man turns his back, the woman follows him.

There is much fun and cheering among the spectators as the man may impishly do the dagit (swoop down) and wali (lift the skirt) with his partner. He may kneel and roll around as she keeps her poise, with hands slowly swaying in the air or circling towards him, until she accedes and dances closely with him. There could be a gapus-gapusay (to tie). The dancers are tied with a kerchief at separate times. The one tied is released when the partner redeems the other through sabwag, or dropping money on the scarf laid centrally on the ground or floor. They naughtily woo each other: the man, through dramatic exuberance in the parayaw (showing off); the woman, through flirtatious finesse in the lubay-lubay (hip swaying).

During weddings in Guiuan, Eastern Samar, the kuratsa serves as a bakayaw or wedding ritual dance performed by the bride and groom. Throughout the region, the ninangs and ninongs (principal sponsors) dance the kuratsa in all elegance. While dancing, they would gracefully throw money like confetti in the air or subtly drop them. Relatives and friends follow suit – dropping bills and coins onto the scarf on the ground or floor. The money given is the gala which the groom gathers and offers to his bride. The fund is meant to help them in their new life together. The kuratsa as wedding dance reflects the mirthful drama of romance between the newlyweds and the support of their family and community to their union. The Waray affirm love through the exuberant grace of the kuratsa.

Joycie Y. Dorado Alegre

Through a rain of paper money confetti, a couple go through the formal paces of the kuratsa.

The provincial dance of Bohol is called the Kuratsa Boholana.

© Renato S. Rastrollo (Calbiga,1993)

Photos © Ramon Obusan Folkloric Group (1991)

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